5a9dfa6b2b
5 Commits
| Author | SHA1 | Message | Date | |
|---|---|---|---|---|
Dejvino
|
5a9dfa6b2b |
A scatter point in Isometric Blocks — which measures worse, twice
Asked for, built, and honest about the result: the focal point costs this scene
a quarter of its variety and I could not make it pay for itself.
uniform scatter, no focus 0.0490
focus, trading scatter for it 0.0374
focus, added on top of it 0.0365
The first version spent the scatter budget near the focus and calmed the rest,
which put most of the field back on the rigid lattice and took the orientation
variety with it, 0.164 down to 0.105. That diagnosis looked right, so the second
version made the focus additive — every cell keeps its full scatter and the ones
near the point get more. It changed nothing: 0.0365, orientation still 0.104.
So the diagnosis was wrong and I do not have the real one. The remaining suspect
is the height modulation, which lifts blocks toward the focus and may be
flattening the skyline's variety between songs by dominating it — but that is a
guess, and two guesses have already been wrong here.
The feature is committed rather than reverted because the metric does not
measure what was asked for. A scatter point is a compositional idea, and the
gallery scores how much a scene changes BETWEEN songs, which is a different
question — Apollonian Gasket makes the same point from the other direction. This
may well look better and score worse. It needs eyes on it before the number
decides.
`gather` is a parameter and seed-driven like any other, so the amount varies per
song as asked; the focal points themselves come from the identity.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
|
||
|
Dejvino
|
8d9b8a593a |
Fix a permanently-zero motion block, and let the song arrange Isometric Blocks
Investigating three pieces of feedback turned up a measurement bug underneath
all of them. The gallery built four of the descriptor's five structural blocks
and never rendered a second frame, so `motion` came back 0.000 for every scene
in the library and dragged every score down by a fifth. It read as a property of
the scenes; it was a missing render. Every number in the gallery so far,
including the ones the 0.04 bar was calibrated against, was depressed by it.
Plasma Bloom 0.0532 -> 0.0624
Voronoi Shatter 0.0431 -> 0.0463
Apollonian Gasket 0.0340 -> 0.0388
The Plasma Bloom versus Voronoi Shatter oddity is real and is the metric's
limit rather than a mistake. Plasma Bloom is a centred subject whose position
moves between songs, so its layout distance is 0.096; Voronoi Shatter is
edge-to-edge cells, and a full-frame texture has the same layout however its
cells fall, so its layout distance is 0.004. The descriptor cannot see "the
cells are different" as composition, and for full-frame work the layout block
contributes almost nothing. Worth knowing before the bar is used to judge that
family.
Apollonian Gasket scoring low with good-looking frames is the gallery working:
it measures how much a scene changes between songs, not how good it looks. A
scene can be beautiful six times and identical six times.
Isometric Blocks gets the displacement it was asked for. Every block sat exactly
on its lattice slot, so the plan of the field was the same plan in every song
and only the heights moved — a layout distance of 0.005. `scatter` steps each
cell off its slot by a fixed amount of its own, bounded under half a cell so
blocks do not cross and break the isometric read, and it drives the block's
height and side wall as well as its ground position. 0.034 to 0.049, clearing
the bar, with orientation variety nearly doubling as the rigid lattice softens.
Its layout distance stayed at 0.004, for the same reason Voronoi's did: the
field fills the frame either way.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
|
||
|
Dejvino
|
e2e5104646 |
Take the effects off the visualizers and leave them to the grade
Forty-nine scenes carried their own `glow`, every one of the sixty-five added its own grain, and a handful had bloom, chroma, haze, smear or trail besides — all of which the post chain already does, with an envelope and a threshold no scene can see. Two uncoordinated effect layers is the smaller half of the problem. The larger half is that an effect knob sampled per song makes a scene look varied across parameter draws while its structure never moves, so the gallery and the variety harness were both being told a scene was original when only its halo had changed. Removed in three shapes. Scene grain goes entirely — the post chain owns it. Statements that ADD a falloff term scaled by the effect are bloom by another name and are deleted. What remains is an intensity on something already drawn, so the uniform is pinned to its default and the knob deleted: the picture survives, the fake variety does not. Reactive entries driving those params went too, since an effect modulated by the audio was the most convincing fake of the lot. That broke the style trait, which is the interesting part. Surface treatment had been leaving the scenes for two commits — sigGrain to post, sigEdge to inkStroke — and removing the last of it left `style` with almost nothing to express: a style+shape signature had two eligible scenes in the whole library. The trait is not obsolete, it has moved, so inkStroke and inkMask now read u_sigLine and u_sigSoft alongside the ink's own weight and edge. A scene drawing in the song's hand honours the track's line weight by construction, and the runtime probe confirms it rather than taking it on trust. This reverses a call made two commits ago for a reason that only became true now. One check needed re-aiming rather than fixing. Two independently built shows are two WebGL contexts, and engine/hash.js says at the top that bit-exactness is a same-context guarantee; the check had been demanding it anyway and getting away with it because the scenes it happened to cast were bit-stable. A casting change put smooth-gradient scenes in frame and the last bit moved. Measured before touching the check: three levels out of 255 across 2.6% of pixels, invisible. The cross-context comparison is now a distance with a ceiling of four, and bit-exactness within one show is still demanded by the check below it. 89/89 checks, 11/11 tests, all static gates. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
||
|
Dejvino
|
2d3ed8eb02 |
Finish the migration: all 65 scenes on the identity artifacts
Two helpers made the bulk of it mechanical. `inkStroke` is a drop-in for
sigEdge — the same line at the identity's weight rather than the track's — and
`castForm` is a drop-in for sigForm, same signature so call sites do not change
shape. With those in place the substitution table is one-to-one:
sigForm( -> castForm( sigShape( -> castMain( sigEdge( -> inkStroke(
Forty-seven scenes went through that pass in one run: twenty-six take the cast
and the ink, twenty-one take the ink alone. Then the gate ran over all sixty-five
and found three the pass had broken, which is the entire reason it exists.
Spectrum Sculpture rendered pure black. It had been using sigShape as a RADIAL
METRIC rather than drawing it, and the cast carries notches and a hollow — an
annulus used as a radius turns a sculpture inside out. Reverted to sigShape and
dropped to ink only. The lesson generalises: a scene that reads a form as
geometry is not a scene that draws it, and the classifier cannot tell those
apart from the source.
Eclipse Field stopped honouring its `style` trait. It opts out of surface grain,
so sigEdge was its only style evidence, and the ink replaced it. The trait claim
is now dropped — and so is the lint change that had let inkMask count as style
evidence, which was wrong and was hiding exactly this. A trait is a property of
the track a scene may honour; an artifact is content it draws. Taking the ink
says nothing about whether a scene responds to u_sigLine.
Circuit Bloom went empty at the bottom of its `grown` range, where the pads were
carried by a hairline and the ink's stroke is thinner than the edge it replaced.
Now filled as well as stroked.
Also: the backtick check now covers every shader literal rather than only the
preamble, because a mechanical pass over sixty files reintroduced one
immediately. Three rounds lost to that typo is enough.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
|
||
|
Dejvino
|
875c3868dd |
Three geometric scenes, and two ways to strobe a whole frame
Voronoi Shatter (cells with no fixed shape, re-cut on the phrase), Apollonian Gasket (a packing built by inversion, so zooming finds more circles rather than finer noise) and Isometric Blocks (a lit, gridded, solid surface where Floating Geometry is bodies adrift). Two flash failures, both the same mistake in different clothes. Apollonian's hard depth cutoff popped a whole generation of discs in and out as the fold crossed it — now faded rather than cut. Isometric Blocks drove block height off the low end, so every tower in the frame grew and shrank together: 4/s. Moving the reaction to the edges and to a hash-chosen quarter of the tops keeps the pulse and drops the frame-wide swing. Voronoi Shatter declares no slow axis: its re-cut puts the ten-second average 0.127 from itself between any two windows, the highest noise floor in the library, and no parameter competes with that. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |